Claire Foy sheds royal garb for piercings and tattoos in first 'The Girl in the Spider's Web' trailer

Claire Foy, the Golden Globe-winning star of The Crown, is devoid of her regal trappings and completely transformed as punk-rock hacker heroine Lisbeth Salander in the first trailer for The Girl in the Spider’s Web, the long-coming sequel to David Fincher’s 2011 film, The Girl With the Dragon Tattoo, which starred Rooney Mara.

Featuring an entirely new roster of stars, The Girl in the Spider’s Web will be a vast departure from The Crown for Foy, who in the above trailer is introduced as a sort of Batman-esque badass righting abusive men’s wrongs, all while sporting her trademark shortly cropped black hair and nose ring (as well as white paint over her eyes). In this latest saga, which is directed by Don’t Breathe’s Fede Alvarez and written by Peaky Blinders’ Steven Knight, Salander will find herself caught up in intrigue after she hacks into the NSA database and discovers some ugly secrets from her past involving her sister (Sylvia Hoeks). Those revelations are the starting point for a story that’ll again pair her with journalist pal (and part-time lover) Mikael Blomkvist (Sverrir Gudnason), who’s struggling to keep his magazine from going under.

The film has also debuted its first teaser poster:

The Girl in the Spider’s Web (Image: Sony)

Salander was introduced in Stieg Larsson’s internationally bestselling trio of novels, known as the “Millennium” series. His original three books were adapted into Swedish films with the lead character played by Noomi Rapace.The Girl in the Spider’s Web isbased on a fourth entry, written by David Lagercrantz, after Larsson’s 2004 death.

When Yahoo Entertainment spoke with Foy earlier this year, she told us that she was taking a more subdued visual approach for her Salander, saying, “It’s quite a pared-down look. The costume we’ve found for Lisbeth isn’t the same as what any of the other actresses have worn, but it feels very like-minded. Her [thinking] now is, ‘I want to make sure that I’m wearing it — it’s not wearing me.’” That aesthetic alteration is driven, she explained, by the fact that, in The Girl in the Spider’s Web, the character is now in a far different place from where she was in the first three books.

“The fourth book is a different story, in a way. It’s the same character, but you’re not joining a Lisbeth who is still dealing with that part of her life. The story we tell, especially in the beginning of the film, is ‘What does she do now? What’s her purpose?’ I’m excited for people to see it; we’re not trying to make it like anything else [in the series], but we’re also not trying to make it wildly different. We’re just trying to be truthful to the story.”